Midlands Review of Cry of the Magpie
midlandsmovies • October 8, 2020
Cry of The Magpie
Directed by Anthony Michael Tracy-Winson
2020
Mr Stitch Films
Lurid fashion and dark suburban psycho-drama abound in Cry of the Magpie, a new 70s-inspired film from Midlands writer-director Anthony Michael Tracy-Winson.
Originally shot in 2018 in Nottingham, the director has split his feature into a 4-part online series and the film introduces us to Elizabeth Pike (Tiffany Ellen Robinson) who is released from a psychiatric hospital after 15 years.
She has finally admitted that a crime she witnessed never actually happened and so is handed into the custody of her older sister Margaret (Sarah Ellis). Returning to their childhood home, Elizabeth appears withdrawn and having trouble adjusting to her new life, but are there more sinister forces lurking in this suburban home.
Set in the 1970s, the director has brilliantly captured the look and feel of the period. With the film in a 3:4 television ratio and the grainy shots colour graded to muted brown and burgundy, it looks as if it comes straight from that era. And this great stylistic choice really sells the atmosphere - whilst the colour palette is helped by appropriate decade-specific fashion and the use of old vehicles and background props.
Set in a suburban home it nods to the “Domestic Gothic” of the 70s films from Amicus Productions. Unlike the similar UK-horror company Hammer films, Amicus’s movies were usually set in the present. And Cry of The Magpie explores this seedy side of domestic life too.
The house itself is an amazing recreation of gaudy home furnishings and patterned wallpaper. Apparently the director himself redecorated the location in a 70s style and again, it all feeds superbly into the tone of the film.
As the story continues Elizabeth has a creepy run-in with a Mr. Anderson (the gardener) as well as entering a state of paralysis to which the doctor recommends a bath to help.
With films like Matthew Holness’ Possum and Luca Guadagnino’s Suspiria, there’s been plenty of nods to the classic horrors of that decade recently. And this film uses similar slow zooms, eerie organ sounds and a few stairwell and dinner table nods to movies like The Shining to capture the same unnerving ambiance.
Ending on a spooky encounter, the film freeze frames for the credits leaving the audience with a mysterious cliff-hanger for the next instalment.
With lots to recommend, the film’s best aspect is its very unique style. Spot-on in every aspect of its tone, I felt the production design and wardrobe were a glorious delight. It has a slow but measured pace, which fits with the mood of the time, and there’s a real sense of intrigue into this dark domestic environment. Much like our lead, the film in the end makes its audience revisit something familiar but also keeps us on the edge for more terror in this excellently made house of horrors.
Michael Sales
On Sunday 26th April Midlands Movies Editor Michael Sales & awards ceremony co-host Ed Stagg (BBC Radio) announced the nominations for the 2026 Midlands Movies Awards live from the Queen of Bradgate Vintage Cinema in Leicester. A big thanks was given to the entire Jury Panel of industry experts who gave up their precious time to watch a huge selection of creative projects and as always, had a difficult time choosing from the excellent number of films from the region. You can read the full list of nominations across all 16 categories below and watch our announcement videos here: Part 1 & Part 2 And please also check out our great awards partner Chrome Video Best Actress in a Leading Role Karendip Phull for Family Kate Bracken for The Lace Rachel Baker for Throwing Fruit Chloe Wade for How Long Sophie Bullock for Ma Prison Best Animated Film Of All the Things by Steff Lee Big Red by James Pyle Statue in the Garden by Qianhui Yu Butterfly by Jacob Christie Best Director Luke Worrall for The Waterline Lily Portman for Quiet Jack Richardson for Daniel’s Room Jonathan Hawes for Sorry We’re Closed Sophia Dall'Aglio for Man from Mars Best Documentary Nothing's Impossible by Jacob Thomas McClean A Birmingham Symphony by Jemma Saunders We Bring Light: Leicester's Diwali Legacy by Kieran Vyas The Sunshine Café by Jill Lampert Through the Viewfinder by William North Best Sound (Editing or Mixing) Neil Evans & his team for Artificial Insanity Alasdair Gretton for Dead on Distribution Deepanjali Patel for Earworm David Hamilton-Smith for The Pause Heidi Wilson for Of All The Things Best Actor in a Supporting Role Devon Junior for Lazar Tim Sparrow for Safety Net Shaiek Ahmed Rana for Family Luke Rollason for Quiet Peter Willoughby for A Story of Spring Best Visual & Special Effects Jake Wesley-Worrall for Soul Trader Steve Askey & team for The Correction Unit Nick Willett & Matt Burkey for Black Goat JaqD SFX MUA, Mind Magic Studios and Ben Harker for Beyond the Witching Hour Jacob Christie for Countenance Best Cinematography Gary Rogers for The Pause Laurence Mason-Guetta for Sorry We’re Closed Ian Snape for Soul Trader Ash Connaughton for Daniel’s Room Duane Adamoli for Surfing (nominations continue below...)
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